know the score

[George Thompson]

Ron Butters writes:
"One could argue against Gerald here that playing games is culturally far more important than playing musical insturments; therefore, it is far more likely that the term arose in sports than in music."
and
"In addition, I would argue that "know the score" has a certain underworldy/slangy feel to it that seems not quite right for musicians--and anyway, who memorizes "the score"?"

The [NY] Daily News a week or so ago ran a sketch of Leonard Bernstein's debut as conductor, when he was called on the morning of a broadcast concert to replace the senior maestro.  I don't have the story in hand right now, but I believe that a part of what made Bernstein's performance news-worthy was that he conducted without a score.  In any event, the story did mention that at that time (early 1950s) Arturo Toscanini was for the very large repertory of music he was able to conduct without a score.
Nowadays, opera and classical music in general is of interest to very few, but I believe it is true that in the first half of the 20th century both had a greater presence in popular culture.  Performers like Fritz Kreisler were stars.  Geraldine Farrar, the opera singer, was sufficiently famous for her beauty and acting ability that she made a number of silent movies.  Mid-century, opera singers like Lily Pons, Rise Stevens, Robert Merrill and Helen Traubel appeared on TV variety shows -- Ed Sullivan, particularly.  My wife reminds me that "The Voice of Firestone" was long popular on radio and TV.  My kids went to Arturo Toscanini Public School.  And so forth.

GAT

George A. Thompson
Author of A Documentary History of "The African Theatre", Northwestern Univ. Pr., 1998.